Tag Archives: Neal Stephenson

Part 1 of this two-part series featured some information about Schroeder’s first book, featuring nanotechnology written for the Canadian military, ‘Crisis in Zefra’ along with a lengthy excerpt from Schroeder’s second military scenario book, ‘Crisis in Urlia’. In searching for information about this second book, I found a guest editorial for THE CANADIAN ARMY JOURNAL 14.3 2012 by then Colonel R.N.H. Dickson, CD,

Beyond those activities, the CALWC [Canadian Army Land Warfare Centre] continues its foundational research and publication activities, including the ongoing serial publication of The Canadian Army Journal, the JADEX Papers, as well as other special studies on subjects such as the comprehensive approach to operations, cyber warfare, the future network, S&T trends, and Army operations in the Arctic. The upcoming publication of a novel entitled Crisis in Urlia, a design fiction tool examining alternate future operations, will assist the Army in probing new ideas creatively while highlighting the possible risks and opportunities in an ever-changing security environment. [emphasis mine]

Of course, the future of the Army does not exclusively belong to the capability development community, be that the CALWC, the extended virtual warfare centre, or our broader joint and allied partners. Rather, the future of the Army belongs to each of its members, and no one organization has a monopoly on innovative thought. I encourage you to learn more about the CALWC and the Army’s capability development initiatives, and then be prepared to contribute to the conversation. The Canadian Army Journal offers a great forum to do both.

You can download ‘Crisis in Urlia’ from this webpage for Government of Canada publications or you can try this PDF of the novel, which has a publication date of 2014. I gather the book took longer to write than was initially anticipated.

As for Karl Schroeder, his website homepage notes that he’s back from an Oct. 1, 2014 visit to the US White House,

The White House Office of Science and Technology Policy invited some of the Hieroglyph authors to present on future possibilities on October 2, 2014. There I am on the end of the line. (More details soon.)

For anyone not familiar with the Hieroglyph project, here are a few details from my May 7, 2013 posting (scroll down about 75% of the way),

Humanity’s lack of a positive vision for the future can be blamed in part on an engineering culture that’s more focused on incrementalism (and VC funding) than big ideas. But maybe science fiction writers should share some of the blame. That’s the idea that came out of a conversation in 2011 between science fiction author Neal Stephenson and Michael Crow, the president of Arizona State University.

…

If science fiction inspires scientists and engineers to create new things–Stephenson believes it can–then more visionary, realistic sci-fi stories can help create a better future. Hence the Hieroglyph experiment, launched this month as a collaborative website for researchers and writers. Many of the stories created on the platform will go into a HarperCollins anthology of fiction and non-fiction, set to be published in 2014.

Here’s more about the Hieroglyph project from the About page,

Inspiration is a small but essential part of innovation, and science fiction stories have been a seminal source of inspiration for innovators over many decades. In his article entitled “Innovation Starvation,” Neal Stephenson calls for a return to inspiration in contemporary science fiction. That call resonated with so many and so deeply that Project Hieroglyph was born shortly thereafter.

The name of Project Hieroglyph comes from the notion that certain iconic inventions in science fiction stories serve as modern “hieroglyphs” – Arthur Clarke’s communications satellite, Robert Heinlein’s rocket ship that lands on its fins, Issac Asimov’s robot, and so on. Jim Karkanias of Microsoft Research described hieroglyphs as simple, recognizable symbols on whose significance everyone agrees.

…

The Hieroglyph project was mentioned here most recently in a Sept. 1, 2014 posting (scroll down about 25% of the way) on the occasion of its book publication and where Schroeder’s ‘Degrees of Freedom’ is listed in the table of contents.

The book is one of a series of projects and events organized by Arizona State University’s Center for Science and the Imagination. You can find information about projects and videos of recent events on the homepage.

As for Karl Schroeder, there’s this from the About page on his kschroeder.com website,

I’m one of Canada’s most popular science fiction and fantasy authors. I divide my time between writing fiction and analyzing, conducting workshops and speaking on the future impact of science and technology on society. As the author of nine novels I’ve been translated into French, German, Spanish, Russian and Japanese. In addition to my more traditional fiction, I’ve pioneered a new mode of writing that blends fiction and rigorous futures research—my influential short novels Crisis in Zefra (2005) and Crisis in Urlia (2011) are innovative ‘scenario fictions’ commissioned by the Canadian army as study and research tools. While doing all of this I’m also working to complete a Master’s degree in Strategic Foresight and Innovation at OCAD [Ontario College of Art and Design] University in Toronto.

I married Janice Beitel in April 2001–we tied the knot in a tropical bird sanctuary on the shore of the Indian Ocean, Kalbarri Western Australia. Our daughter Paige was born in May 2003. We live in East Toronto where I’m writing about the evolution of post-bureaucratic governance in the 2025-2035 period.

David Bruggeman over on his Pasco Phronesis has two postings which highlight different approaches to communicating about science. His Aug. 31, 2014 posting features audio plays (Note: Links have been removed),

L.A. Theatre Works makes a large number of their works available via audio. Its Relativity series (H/T Scirens) is a collection of (at this writing) 25 plays with science and technology either as themes and/or as forces driving the action of the play. You’re certainly familiar with War of the Worlds, and you may have heard of the plays Arcadia and Copenhagen. The science covered in these plays is from a number of different fields, and some works will try to engage the audience on the social implications of how science is conducted. The casts have many familiar faces as well. …

A teenage misfit is coming of age in the comforting glow of late-night horror movies. But when reality begins to intrude on his fantasy world, he realizes that hiding in the closet is no longer an option.

David’s Aug. 26, 2014 posting features Hieroglyph, a project from Arizona State University’s (ASU) Center for Science and the Imagination (Note: A link has been removed),

Next month [Sept. 2014] William Morrow will release Hieroglyph, a collection of science fiction short stories edited by the Director of the Center for Science and the Imagination at Arizona State University. The name of the collection is taken from a theory advanced by science fiction writer Neil [Neal] Stephenson, and a larger writing project of which this book is a part. The Hieroglyph Theory describes the kind of science fiction that can motivate scientists and engineers to create a future. A Hieroglyph story provides a complete picture of the future, with a compelling innovation as part of that future. An example would be the Asimov model of robotics.

Humanity’s lack of a positive vision for the future can be blamed in part on an engineering culture that’s more focused on incrementalism (and VC funding) than big ideas. But maybe science fiction writers should share some of the blame. That’s the idea that came out of a conversation in 2011 between science fiction author Neal Stephenson and Michael Crow, the president of Arizona State University.

…

If science fiction inspires scientists and engineers to create new things–Stephenson believes it can–then more visionary, realistic sci-fi stories can help create a better future. Hence the Hieroglyph experiment, launched this month as a collaborative website for researchers and writers. Many of the stories created on the platform will go into a HarperCollins anthology of fiction and non-fiction, set to be published in 2014.

As it turns out, William Morrow Books is a a HarperCollins imprint. You can read a bit more about the book and preview some of the contents from the Scribd.com Hieroglyph webpage which includes this table of contents (much better looking in the Scribd version),

Good on the organizers for being able to follow through on their promise to have something published by HarperCollins in 2014.

This book is not ASU’s Center for Science and the Imagination’s only activity. In November 2014, Margaret Atwood, an internationally known Canadian novelist, will visit the center (from the center’s home page),

Internationally renowned novelist and environmental activist Margaret Atwood will visit Arizona State University this November to discuss the relationship between art and science, and the importance of creative writing and imagination for addressing social and environmental challenges.

“We are proud to welcome Margaret Atwood, one of the world’s most celebrated living writers, to ASU and engage her in these discussions around climate, science and creative writing,” said Jewell Parker Rhodes, founding artistic director for the Virginia G. Piper Center for Creative Writing and the Piper Endowed Chair at Arizona State University. “A poet, novelist, literary critic and essayist, Ms. Atwood epitomizes the creative and professional excellence our students aspire to achieve.”

Focusing in particular on CliFi, the Imagination and Climate Futures Initiative will explore how imaginative skills can be harnessed to create solutions to climate challenges, and question whether and how creative writing can affect political decisions and behavior by influencing our social, political and scientific imagination.

“ASU is a leader in exploring how creativity and the imagination drive the arts, sciences, engineering and humanities,” said Ed Finn, director of the Center for Science and the Imagination. “The Imagination and Climate Futures Initiative will use the thriving CliFi genre to ask the hard questions about our cultural relationship to climate change and offer compelling visions for sustainable futures.”

The multidisciplinary Initiative will bring together researchers, artists, writers, decision-makers and the public to engage in research projects, teaching activities and events at ASU and beyond. The three ASU programs behind the Imagination and Climate Futures Initiative have a track record for academic and public engagement around innovative programs, including the Sustainability Solutions Festival; Emerge; and the Desert Nights, Rising Stars Writers Conference.

“Imagining how the future could unfold in a climatically changing world is key to making good policy and governance decisions today,” said Manjana Milkoreit, a postdoctoral fellow with the Walton Sustainability Solutions Initiatives. “We need to know more about the nature of imagination, its relationship to scientific knowledge and the effect of cultural phenomena such as CliFi on our imaginative capabilities and, ultimately, our collective ability to create a safe and prosperous future.”

Kind of odd they don’t mention Atwood’s Canadian, eh?

There’s lots more on the page which features news bits and articles, as well as, event information. Coincidentally, another Canuck (assuming he retains his citizenship after several years in the US) visited the center on June 7, 2014 to participate in an event billed as ‘An evening with Nathan Fillion and friends;; serenity [Joss Whedon’s tv series and movie], softwire, and science of science fiction’. A June 21, 2014 piece (on the center home page) by Joey Eschrich describes the night in some detail,

Nathan Fillion may very well be the friendliest, most unpretentious spaceship captain, mystery-solving author and science fiction heartthrob in the known universe. The “ruggedly handsome” star of TV’s “Castle” was the delight of fans as he headlined a fundraiser on the Arizona State University campus in Tempe, June 7 [2014].

The “Serenity, Softwire, and the Science of Science Fiction” event, benefiting the ASU Department of English and advertised as an “intimate evening for a small group of 50 people,” included considerable face-time with Fillion, who in-person proved surprisingly similar to the witty, charming and compassionate characters he plays on television and in film.

Starring with Fillion in the ASU evening’s festivities were science fiction author PJ Haarsma (a close friend of Fillion’s) along with ASU professors Ed Finn, director of the Center for Science and the Imagination; Peter Goggin, a literacy expert in the Department of English and senior scholar with the Global Institute of Sustainability; and School of Earth and Space Exploration faculty Jim Bell, an astronomer, and Sara Imari Walker, an astrobiologist. In addition to the Department of English, sponsors included ASU’s College of Liberal Arts and Sciences and Center for Science and the Imagination.

The event began with each panelist explaining how he or she arrived at his or her respective careers, and whether science or science fiction played a role in that journey. All panelists pointed to reading and imagining as formational to their senses of themselves and their places in life.

A number of big questions were posed to the panelists: “What is the likelihood of life on other planets?” and “What is the physical practicality of traveling to other planets?” ASU scientists Bell and Walker deftly fielded these complex planetary inquiries, while Goggin and Finn explained how the intersection of science and humanities – embodied in science fiction books and film – encouraged children and scholars alike to think creatively about the future. Attendees reported that they found the conversation “intellectually stimulating and thought-provoking as well as fun and entertaining.”

During the ensuing discussion, Haarsma and Fillion bantered back and forth comically, as we are told they often do in real life, at one point raising the group’s awareness of the mission they have shared for many years: promoting reading in the lives of young people. The two founded the Kids Need to Read Foundation, which provides books to underserved schools and libraries. Fillion, the son of retired English teachers, attended Concordia University of Alberta [no], where he was a member of the Kappa Alpha Society, an organization that emphasizes literature and debate. His brother, Jeff, is a highly respected school principal. Fillion’s story about the importance of books and reading in his childhood home was a rare moment of seriousness for the actor.

The most delightful aspect of the evening, according to guests, was the good nature of Fillion himself, who arrived with Haarsma earlier than expected and stayed later than scheduled. Fillion spent several minutes with each individual or group of friends, laughing with them, using their phone cameras to snap group “selfies” and showing a genuine interest in getting to know them.

Audience members each received copies of science fiction books: Haarsma’s teen novel, “Softwire: Virus on Orbis I,” and the Tomorrow Project science fiction anthology “Cautions, Dreams & Curiosities,” which was co-produced by the Center for Science and the Imagination with Intel and the Society for Science & the Public. Guests presented their new books and assorted other items to Fillion and Haarsma for autographing and a bit more conversation before the evening came to a close. It was then time for Fillion to head back downtown to his hotel, but not before one cadre of friends “asked him to take one last group shot of us at the end of the night, to which he replied with a smile, ‘I thought you’d never ask.’”

Oops! Concordia University is in the province of Québec not Alberta which is home to the University of Calgary and the University of Alberta.

The evening with Nathan Fillion and friends was a fundraiser, participants were charged $250 each for one of 50 seats at the event, which means they raised $12,500 minus any expenses incurred. Good for them!

As mentioned here before, ‘The Diamond Age: Or, A Young Lady’s Illustrated Primer’, a 1985 novel by Neal Stephenson featured in its opening chapter a flexible, bendable, rollable, newspaper screen. It’s one of those devices promised by ‘nano evangelists’ that never quite seems to come into existence. However, ‘hope springs eternally’ as they say and a team from the University of Oxford claims to be bringing us one step closer.

A new discovery will make it possible to create pixels just a few hundred nanometres across that could pave the way for extremely high-resolution and low-energy thin, flexible displays for applications such as ‘smart’ glasses, synthetic retinas, and foldable screens.

A team led by Oxford University scientists explored the link between the electrical and optical properties of phase change materials (materials that can change from an amorphous to a crystalline state). They found that by sandwiching a seven nanometre thick layer of a phase change material (GST) between two layers of a transparent electrode they could use a tiny current to ‘draw’ images within the sandwich ‘stack’.

Here’s a series of images the researchers have created using this technology,

Still images drawn with the technology: at around 70 micrometres across each image is smaller than the width of a human hair. Courtesy University of Oxford

The press release offers a technical description,

Initially still images were created using an atomic force microscope but the team went on to demonstrate that such tiny ‘stacks’ can be turned into prototype pixel-like devices. These ‘nano-pixels’ – just 300 by 300 nanometres in size – can be electrically switched ‘on and off’ at will, creating the coloured dots that would form the building blocks of an extremely high-resolution display technology.

…

‘We didn’t set out to invent a new kind of display,’ said Professor Harish Bhaskaran of Oxford University’s Department of Materials, who led the research. ‘We were exploring the relationship between the electrical and optical properties of phase change materials and then had the idea of creating this GST ‘sandwich’ made up of layers just a few nanometres thick. We found that not only were we able to create images in the stack but, to our surprise, thinner layers of GST actually gave us better contrast. We also discovered that altering the size of the bottom electrode layer enabled us to change the colour of the image.’

The layers of the GST sandwich are created using a sputtering technique where a target is bombarded with high energy particles so that atoms from the target are deposited onto another material as a thin film.

‘Because the layers that make up our devices can be deposited as thin films they can be incorporated into very thin flexible materials – we have already demonstrated that the technique works on flexible Mylar sheets around 200 nanometres thick,’ said Professor Bhaskaran. ‘This makes them potentially useful for ‘smart’ glasses, foldable screens, windshield displays, and even synthetic retinas that mimic the abilities of photoreceptor cells in the human eye.’

Peiman Hosseini of Oxford University’s Department of Materials, first author of the paper, said: ‘Our models are so good at predicting the experiment that we can tune our prototype ‘pixels’ to create any colour we want – including the primary colours needed for a display. One of the advantages of our design is that, unlike most conventional LCD screens, there would be no need to constantly refresh all pixels, you would only have to refresh those pixels that actually change (static pixels remain as they were). This means that any display based on this technology would have extremely low energy consumption.’

The research suggests that flexible paper-thin displays based on the technology could have the capacity to switch between a power-saving ‘colour e-reader mode’, and a backlit display capable of showing video. Such displays could be created using cheap materials and, because they would be solid-state, promise to be reliable and easy to manufacture. The tiny ‘nano-pixels’ make it ideal for applications, such as smart glasses, where an image would be projected at a larger size as, even enlarged, they would offer very high-resolution.

Professor David Wright of the Department of Engineering at the University of Exeter, co-author of the paper, said: ‘Along with many other researchers around the world we have been looking into the use of these GST materials for memory applications for many years, but no one before thought of combining their electrical and optical functionality to provide entirely new kinds of non-volatile, high-resolution, electronic colour displays – so our work is a real breakthrough.’

…

The phase change material used was the alloy Ge2Sb2Te5 (Germanium-Antimony-Tellurium or GST) sandwiched between electrode layers made of indium tin oxide (ITO).

I gather the researchers are looking for investors (from the press release),

Whilst the work is still in its early stages, realising its potential, the Oxford team has filed a patent on the discovery with the help of Isis Innovation, Oxford University’s technology commercialisation company. Isis is now discussing the displays with companies who are interested in assessing the technology, and with investors.

I started this post in March (2013) but haven’t had time till now (May 7, 2013) to flesh it out. It was a Mar. 28, 2013 posting by Jessica Bland and Lydia Nicholas for the UK Guardian science blogs which inspired me (Note: Links have been removed),

Science fiction and real-world innovation have always fed off each other. The history of the electronic book shows us things are more complicated than fiction predicting fact [.]

…

Imagine a new future. No, not that tired old vision of hoverboards and robot butlers: something really new and truly strange. It’s hard. It’s harder still to invent the new things that will fill this entirely new world. New ideas that do not fit or that come from unfamiliar places are often ignored. Hedy Lemarr [a major movie sex symbol in her day] and George Antheil’s [musician] frequency-hopping patent was ignored for 20 years because the US Navy could not believe that Hollywood artists could invent a method of secure communication. Many of Nikola Tesla’s inventions and his passionate belief in the importance of renewable energy were ignored by a world that could not imagine a need for them.

Stories open our eyes to the opportunities and hazards of new technologies. By articulating our fears and desires for the future, stories help shape what is to come – informing public debate, influencing regulation and inspiring inventors. And this makes it important that we do not just listen to the loudest voices.

Of course it isn’t as simple as mining mountains of pulp sci-fi for the schematics of the next rocket or the algorithms of the next Google. Arthur C. Clarke, often attributed with the invention of the communication satellite, firmly believed that these satellites would require crews. The pervasive connectivity that defines our world today would never have existed if every satellite needed to be manned.

The Guardian posting was occasioned by the publication of two research papers produced for NESTA. It’s an organization which is not similar to any in Canada or the US (as far as I know). Here’s a little more about NESTA from their FAQs page,

Nesta is an independent charity with a mission to help people and organisations bring great ideas to life. We do this by providing investments and grants and mobilising research, networks and skills.

Nesta backs innovation to help bring great ideas to life. We do this by providing investments and grants and mobilising research, networks and skills.

Nesta receives funds from The Nesta Trust, which received the National Lottery endowment from the National Endowment for Science, Technology and the Arts.

The interest from this endowment is used to fund our activities. These activities must be used to promote the charitable objects of both the Nesta Trust and the Nesta charity. We also use the returns from Nesta investments, and income from working in partnership with others, to fund our work.

We don’t receive any ongoing general government funds to support our work.

On 1st April 2012 Nesta ceased being a Non-Departmental Public Body (NDPB) and became a charity (charity number 1144091).

We maintain our mission to carry out research into innovation and to further education, science, technology, the arts, public services, the voluntary sector and enterprise in various areas by encouraging and supporting innovation.

Nesta’s objectives are now set out in our ‘charitable objects’ which can be viewed here.

Nesta continues to operate at no cost to the Government or the taxpayer using return from the Nesta Trust.

For anyone who does not have time to read the NESTA papers, the Guardian’s post by Bland and Nicholas provides a good overview of the thinking which links science fiction with real innovation.

Around the same time I stumbled across the Bland/Nicholas post I also stumbled on a science fiction conference that is regularly held at the University of California Riverside.

The Eaton Science Fiction Conference was held Apr. 11 – 14, 2013 and the theme was “Science Fiction Media. It’s a little late for this year but perhaps you want to start planning for next year. Here’s the Eaton Science Fiction Conference website. For those who’d like to get a feel for this conference, here’s a little more from the Mar. 27, 2013 news release by Bettye Miller,

… the 2013 conference will be largest in the 34-year history of the conference, said Melissa Conway, head of Special Collections and Archives of the UCR Libraries and conference co-organizer. It also is the first time the UCR Libraries and College of Humanities, Arts and Social Sciences have partnered with the Science Fiction Research Association, the largest and most prestigious scholarly organization in the field, to present the event.

…

Among the science fiction writers who will be presenting on different panels are: Larry Niven, author of “Ringworld” and a five-time winner of the Hugo Award and a Nebula; Gregory Benford, astrophysicist and winner of a Nebula Award and a United Nations Medal in Literature; David Brin, astrophysicist and two-time winner of the Hugo Award; Audre Bormanis, writer/producer for “Star Trek: Enterprise,” “Threshold,” “Eleventh Hour,” “Legend of the Seeker” and “Tron: Uprising”; Kevin Grazier, science adviser for “Battlestar Galactica,” “Defiance,” “Eureka” and “Falling Skies”; and James Gunn, winner of a Hugo Award and the 2007 Damon Knight Memorial Grand Master, presented for lifetime achievement as a writer of science fiction and/or fantasy by the Science Fiction and Fantasy Writers of America.

As for the impetus for this conference in Riverside, California, from the news release,

UCR is the home of the Eaton Collection of Science Fiction and Fantasy, the largest publicly accessible collection of its kind in the world. The collection embraces every branch of science fiction, fantasy, horror and utopian/dystopian fiction.

The collection, which attracts scholars from around the world, holds more than 300,000 items including English-language science fiction, fantasy and horror published in the 20th century and a wide range of works in Spanish, French, Russian, Chinese, Japanese, German, and a dozen other languages; fanzines; comic books; anime; manga; science fiction films and television series; shooting scripts; archives of science fiction writers; and science fiction collectibles and memorabilia.

In one of those odd coincidences we all experience from time to time, Ray Harryhausen, creator of a type of stop-motion model animation known as Dynamation and well loved for his work in special effects and who was recognized with a life time achievement at the 2013 conference, died today (May 7, 2013; Wikipedia essay).

Humanity’s lack of a positive vision for the future can be blamed in part on an engineering culture that’s more focused on incrementalism (and VC funding) than big ideas. But maybe science fiction writers should share some of the blame. That’s the idea that came out of a conversation in 2011 between science fiction author Neal Stephenson and Michael Crow, the president of Arizona State University.

…

If science fiction inspires scientists and engineers to create new things–Stephenson believes it can–then more visionary, realistic sci-fi stories can help create a better future. Hence the Hieroglyph experiment, launched this month as a collaborative website for researchers and writers. Many of the stories created on the platform will go into a HarperCollins anthology of fiction and non-fiction, set to be published in 2014.

Here’s more about the Hieroglyph project from the About page,

Inspiration is a small but essential part of innovation, and science fiction stories have been a seminal source of inspiration for innovators over many decades. In his article entitled “Innovation Starvation,” Neal Stephenson calls for a return to inspiration in contemporary science fiction. That call resonated with so many and so deeply that Project Hieroglyph was born shortly thereafter.

The name of Project Hieroglyph comes from the notion that certain iconic inventions in science fiction stories serve as modern “hieroglyphs” – Arthur Clarke’s communications satellite, Robert Heinlein’s rocket ship that lands on its fins, Issac Asimov’s robot, and so on. Jim Karkanias of Microsoft Research described hieroglyphs as simple, recognizable symbols on whose significance everyone agrees.

…

While the mission of Project Hieroglyph begins with creative inspiration, our hope is that many of us will be genuinely inspired towards realization.

It’s great seeing this confluence of thinking about science fiction, innovation, and science. I’m pretty sure we knew this in the 19th century (and probably before that too) and I just hope we don’t forget it again.

A couple of diamond-related news items have crossed my path lately causing me to consider diamonds and their social implications. I’ll start first with the news items, according to an April 4, 2012 news item on physorg.com a quantum computer has been built inside a diamond (from the news item),

Diamonds are forever – or, at least, the effects of this diamond on quantum computing may be. A team that includes scientists from USC has built a quantum computer in a diamond, the first of its kind to include protection against “decoherence” – noise that prevents the computer from functioning properly.

I last mentioned decoherence in my July 21, 2011 posting about a joint (University of British Columbia, University of California at Santa Barbara and the University of Southern California) project on quantum computing.

The multinational team included USC professor Daniel Lidar and USC postdoctoral researcher Zhihui Wang, as well as researchers from the Delft University of Technology in the Netherlands, Iowa State University and the University of California, Santa Barbara. The findings were published today in Nature.

The team’s diamond quantum computer system featured two quantum bits, or qubits, made of subatomic particles.

As opposed to traditional computer bits, which can encode distinctly either a one or a zero, qubits can encode a one and a zero at the same time. This property, called superposition, along with the ability of quantum states to “tunnel” through energy barriers, some day will allow quantum computers to perform optimization calculations much faster than traditional computers.

Like all diamonds, the diamond used by the researchers has impurities – things other than carbon. The more impurities in a diamond, the less attractive it is as a piece of jewelry because it makes the crystal appear cloudy.

The team, however, utilized the impurities themselves.

A rogue nitrogen nucleus became the first qubit. In a second flaw sat an electron, which became the second qubit. (Though put more accurately, the “spin” of each of these subatomic particles was used as the qubit.)

Electrons are smaller than nuclei and perform computations much more quickly, but they also fall victim more quickly to decoherence. A qubit based on a nucleus, which is large, is much more stable but slower.

“A nucleus has a long decoherence time – in the milliseconds. You can think of it as very sluggish,” said Lidar, who holds appointments at the USC Viterbi School of Engineering and the USC Dornsife College of Letters, Arts and Sciences.

Though solid-state computing systems have existed before, this was the first to incorporate decoherence protection – using microwave pulses to continually switch the direction of the electron spin rotation.

“It’s a little like time travel,” Lidar said, because switching the direction of rotation time-reverses the inconsistencies in motion as the qubits move back to their original position.

Here’s an image I downloaded from the USC webpage hosting Perkins’s news item,

The diamond in the center measures 1 mm X 1 mm. Photo/Courtesy of Delft University of Technolgy/UC Santa Barbara

I’m not sure what they were trying to illustrate with the image but I thought it would provide an interesting contrast to the video which follows about the world’s first purely diamond ring,

What with the posting about Neal Stephenson and Diamond Age (aka, The Diamond Age Or A Young Lady’s Illustrated Primer; a novel that integrates nanotechnology into a story about the future and ubiquitous diamonds), a quantum computer in a diamond, and this ring, I’ve started to wonder about role diamonds will have in society. Will they be integrated into everyday objects or will they remain objects of desire? My guess is that the diamonds we create by manipulating carbon atoms will be considered everyday items while the ones which have been formed in the bowels of the earth will retain their status.

After reading Diamond Age (aka, The Diamond Age Or A Young Lady’s Illustrated Prime; a novel that integrates nanotechnology into a story about the future), I have never been able to steel myself to read another Neal Stephenson book. In the last 1/3 of the book, the plot fell to pieces so none of the previously established narrative threads were addressed and the character development, such as it was, ceased to make sense. However, it seems I am in the minority as Stephenson and his work are widely and critically lauded.

April 17, 2012, Stephenson will be appearing in an event which features a live interview by Technology Review editor-in-chief, Jason Pontin at the Massachusetts Institute of Technology (MIT). From Stephen Cass’s April 3, 2012 article for Technology Review,

With assistance from the the MIT Graduate Program in Science Writing, if you’re in the Boston area, you can see Neal Stephenson in person at MIT on April 17. Technology Review‘s editor-in-chief, Jason Pontin, will publicly interview Stephenson for the 2012 issue of TRSF, our annual science fiction anthology. Topics on the table include the state and future of hard science fiction, and how digital publishing is affecting novels.

Nanotechnology and diamonds go together like a horse and carriage … I don’t often resist song references and this was not one of those times. (For anyone who doesn’t recognize it, “Love and marriage go together like …).

Given how strongly diamonds are associated with nanotechnology, it’s good to see that a team from the A. J. Drexel Nanotechnology Institute has published a review of nanodiamond research. From the Jan. 11, 2012 news item on Nanowerk,

Nearly 50 years ago scientists discovered that detonating powerful explosives had the ability to create, not just destroy. Nanodiamonds, diamond-structured particles measuring less than 10 nanometers in diameter, which are the resultant residue from a TNT or Hexogen explosion in a contained space, are now being studied in a variety of science, technology and health applications. A team of researchers who specialize in nanotechnology, led by Dr. Yury Gogotsi, director of the A.J. Drexel Nanotechnology Institute, offered a review of nanodiamond research, in the December 18 edition of Nature Nanotechnology (“The properties and applications of nanodiamonds “) to sift through new ways scientists are using these tiny treasures.

Courtesy of reading Neal Stephenson’s science fiction novel, Diamond Age, I tend to think of materials made from nanodiamonds as being construction materials but this team is suggesting some other applications (from the news item),

According to the piece, nanodiamonds possess a unique combination of qualities, such as accessible surface area, versatile chemistry, chemical stability and biocompatibility. These traits, and the fact that nanodiamonds are non-toxic, make the particles ideal candidates for a variety of tasks including drug delivery cancer diagnostics, and mimicking proteins.

This time I’ve decided to explore a few of the human/computer interface stories I’ve run across lately. So this posting is largely speculative and rambling as I’m not driving towards a conclusion.

My first item is a May 3, 2011 news item on physorg.com. It concerns an art installation at Rensselaer Polytechnic Institute, The Ascent. From the news item,

A team of Rensselaer Polytechnic Institute students has created a system that pairs an EEG headset with a 3-D theatrical flying harness, allowing users to “fly” by controlling their thoughts. The “Infinity Simulator” will make its debut with an art installation [The Ascent] in which participants rise into the air – and trigger light, sound, and video effects – by calming their thoughts.

If you should be near Rensselaer on May 12, 2011, you could have a chance to fly using your own thoughtpower, a harness, and an EEG helmet. From the event webpage,
Come ride The Ascent, a playful mash-up of theatrics, gaming and mind-control. The Ascent is a live-action, theatrical ride experience created for almost anyone to try. Individual riders wear an EEG headset, which reads brainwaves, along with a waist harness, and by marshaling their calm, focus, and concentration, try to levitate themselves thirty feet into the air as a small audience watches from below. The experience is full of obstacles-as a rider ascends via the power of concentration, sound and light also respond to brain activity, creating a storm of stimuli that conspires to distract the rider from achieving the goal: levitating into “transcendence.” The paradox is that in order to succeed, you need to release your desire for achievement, and contend with what might be the biggest obstacle: yourself.

The Infinity System is a new platform and user interface for 3D flying which combines aspects of thrill-ride, live-action video game, and interactive installation.

Using a unique and intuitive interface, the Infinity System uses 3D rigging to move bodies creatively through space, while employing wearable sensors to manipulate audio and visual content.

Like a live-action stunt-show crossed with a video game, the user is given the superhuman ability to safely and freely fly, leap, bound, flip, run up walls, fall from great heights, swoop, buzz, drop, soar, and otherwise creatively defy gravity.

Within the theater, the rigging – including the harness – is controlled by a Stage Tech NOMAD console; lights are controlled by an ION console running MIDI show control; sound through MAX/MSP; and video through Isadora and Jitter. The “Infinity Simulator,” a series of three C programs written by Todd, acts as intermediary between the headset and the theater systems, connecting and conveying all input and output.

“We’ve built a software system on top of the rigging control board and now have control of it through an iPad, and since we have the iPad control, we can have anything control it,” said Duenyas. “The ‘Infinity Simulator’ is the center; everything talks to the ‘Infinity Simulator.’”

This May 3, 2011 article (Mystery Man Gives Mind-Reading Tech More Early Cash Than Facebook, Google Combined) by Kit Eaton on Fast Company also concerns itself with a brain/computer interface. From the article,
Imagine the money that could be made by a drug company that accurately predicted and treated the onset of Alzheimer’s before any symptoms surfaced. That may give us an idea why NeuroVigil, a company specializing in non-invasive, wireless brain-recording tech, just got a cash injection that puts it at a valuation “twice the combined seed valuations of Google’s and Facebook’s first rounds,” according to a company announcement
…
NeuroVigil’s key product at the moment is the iBrain, a slim device in a flexible head-cap that’s designed to be worn for continuous EEG monitoring of a patient’s brain function–mainly during sleep. It’s non-invasive, and replaces older technology that could only access these kind of brain functions via critically implanted electrodes actually on the brain itself. The idea is, first, to record how brain function changes over time, perhaps as a particular combination of drugs is administered or to help diagnose particular brain pathologies–such as epilepsy.
…
But the other half of the potentailly lucrative equation is the ability to analyze the trove of data coming from iBrain. And that’s where NeuroVigil’s SPEARS algorithm enters the picture. Not only is the company simplifying collection of brain data with a device that can be relatively comfortably worn during all sorts of tasks–sleeping, driving, watching advertising–but the combination of iBrain and SPEARS multiplies the efficiency of data analysis [emphasis mine].

I assume it’s the notion of combining the two technologies (iBrian and SPEARS) that spawned the ‘mind-reading’ part of this article’s title. The technology could be used for early detection and diagnosis, as well as, other possibilities as Eaton notes,

It’s also possible it could develop its technology into non-medicinal uses such as human-computer interfaces–in an earlier announcement, NeuroVigil noted, “We plan to make these kinds of devices available to the transportation industry, biofeedback, and defense. Applications regarding pandemics and bioterrorism are being considered but cannot be shared in this format.” And there’s even a popular line of kid’s toys that use an essentially similar technique, powered by NeuroSky sensors–themselves destined for future uses as games console controllers or even input devices for computers.

What these two technologies have in common is that, in some fashion or other, they have (shy of implanting a computer chip) a relatively direct interface with our brains, which means (to me anyway) a very different relationship between humans and computers.

In the next couple of items I’m going to profile a couple of very similar to each other technologies that allow for more traditional human/computer interactions, one of which I’ve posted about previously, the Nokia Morph (most recently in my Sept. 29, 2010 posting).

It was first introduced as a type of flexible phone with other capabilities. Since then, they seem to have elaborated on those capabilities. Here’s a description of what they now call the ‘Morph concept’ in a [ETA May 12, 2011: inserted correct link information] May 4, 2011 news item on Nanowerk,

Morph is a joint nanotechnology concept developed by Nokia Research Center (NRC) and the University of Cambridge (UK). Morph is a concept that demonstrates how future mobile devices might be stretchable and flexible, allowing the user to transform their mobile device into radically different shapes. It demonstrates the ultimate functionality that nanotechnology might be capable of delivering: flexible materials, transparent electronics and self-cleaning surfaces.

Morph, will act as a gateway. It will connect the user to the local environment as well as the global internet. It is an attentive device that adapts to the context – it shapes according to the context. The device can change its form from rigid to flexible and stretchable. Buttons of the user interface can grow up from a flat surface when needed. User will never have to worry about the battery life. It is a device that will help us in our everyday life, to keep our self connected and in shape. It is one significant piece of a system that will help us to look after the environment.

Without the new materials, i.e. new structures enabled by the novel materials and manufacturing methods it would be impossible to build Morph kind of device. Graphene has an important role in different components of the new device and the ecosystem needed to make the gateway and context awareness possible in an energy efficient way.

Graphene will enable evolution of the current technology e.g. continuation of the ever increasing computing power when the performance of the computing would require sub nanometer scale transistors by using conventional materials.

For someone who’s been following news of the Morph for the last few years, this news item doesn’t give you any new information. Still, it’s nice to be reminded of the Morph project. Here’s a video produced by the University of Cambridge that illustrates some of the project’s hopes for the Morph concept,

While the folks at the Nokia Research Centre and University of Cambridge have been working on their project, it appears the team at the Human Media Lab at the School of Computing at Queen’s University (Kingston, Ontario, Canada) in cooperation with a team from Arizona State University and E Ink Corporation have been able to produce a prototype of something remarkably similar, albeit with fewer functions. The PaperPhone is being introduced at the Association of Computing Machinery’s CHI 2011 (Computer Human Interaction) conference in Vancouver, Canada next Tuesday, May 10, 2011.

The world’s first interactive paper computer is set to revolutionize the world of interactive computing.

“This is the future. Everything is going to look and feel like this within five years,” says creator Roel Vertegaal, the director of Queen’s University Human Media Lab,. “This computer looks, feels and operates like a small sheet of interactive paper. You interact with it by bending it into a cell phone, flipping the corner to turn pages, or writing on it with a pen.”

The smartphone prototype, called PaperPhone is best described as a flexible iPhone – it does everything a smartphone does, like store books, play music or make phone calls. But its display consists of a 9.5 cm diagonal thin film flexible E Ink display. The flexible form of the display makes it much more portable that any current mobile computer: it will shape with your pocket.

For anyone who knows the novel, it’s very Diamond Age (by Neal Stephenson). On a more technical note, I would have liked more information about the display’s technology. What is E Ink using? Graphene? Carbon nanotubes?

(That does not look like to paper to me but I suppose you could call it ‘paperlike’.)

In reviewing all these news items, it seems to me there are two themes, the computer as bodywear and the computer as an extension of our thoughts. Both of these are more intimate relationships, the latter far more so than the former, than we’ve had with the computer till now. If any of you have any thoughts on this, please do leave a comment as I would be delighted to engage on some discussion about this.

You can get more information about the Association of Computing Machinery’s CHI 2011 (Computer Human Interaction) conference where Dr. Vertegaal will be presenting here.

You can find more about Dr. Vertegaal and the Human Media Lab at Queen’s University here.

The academic paper being presented at the Vancouver conference is here.

Also, if you are interested in the hardware end of things, you can check out E Ink Corporation, the company that partnered with the team from Queen’s and Arizona State University to create the PaperPhone. Interestingly, E Ink is a spin off company from the Massachusetts Institute of Technology (MIT).

Will you mourn the loss of the physical book if eBooks become the dominant format?

It doesn’t fill me with quite the degree of horror and sorrow that it seems to fill many of my friends. For one thing, I don’t think that physical books will cease to be produced. But the ecological impact of book manufacture and traditional book marketing –- I think that should really be considered. We have this industry in which we cut down trees to make the paper that we then use enormous amounts of electricity to turn into books that weigh a great deal and are then shipped enormous distances to point-of-sale retail. Often times they are remained or returned, using double the carbon footprint. And more electricity is used to pulp them and turn them into more books. If you look at it from a purely ecological point of view, it’s crazy.

Gibson goes on to suggest that the perfect scenario would feature bookstores displaying one copy of each book being offered for sale. Prospective readers would be able to view the book and purchase their own copy through a print-on-demand system. He does not speculate about any possible role for e-books.

For a contrasting approach from writers, let’s take Neal Stephenson, Greg Bear and other members of the Mongoliad novel/project which is being written/conducted online. I’m inferring from the publicity and written material on the Mongoliad website that these writers, artists, and others are experimenting with new business and storytelling models in the face of a rapidly changing publishing and reading environment. I’ve posted about Mongoliad here (Sept.7,2010) and here (May 31,2010).

Edward Picot at The Hyperliterature Exchange has written a substantive essay, It’s Literature Jim… but not as we know i:Publishing and the Digital Revolution, which explores this topic from the perspective of someone who’s been heavily involved in the debate for many years. From the Picot essay,

It seems we may finally be reaching the point where ebooks are going to pose a genuine challenge to print-and-paper. Amazon have just announced that Stieg Larsson’s The Girl with the Dragon Tattoo has become the first ebook to sell more than a million copies; and also that they are now selling more copies of ebooks than books in hardcover. [emphasis mine]

As for more proof as to how much things are changing, the folks who produce the Oxford English Dictionary (the 20 volume version) have announced that the 1989 edition may have been the last print edition. From Dan Nosowitz’s article on the Fast Company website,

The Oxford English Dictionary, currently a 20 volume, 750-pound monstrosity, has been the authoritative word on the words of the English language for 126 years. The OED3, the first new edition since 1989, may also be the first to forgo print entirely, reports the AP.

…

Nigel Portwood, chief executive of the Oxford University Press (isn’t that the perfect name for him?), says online revenue has been so high that it is highly unlikely that the third edition of the OED will be physically printed. The full 20-volume set costs $995 at Amazon, and of course it requires supplementals regularly to account for valuable words like “bootylicious.”

Meanwhile the Shifted Librarian weighs in by comparing her Kindle experience with a print book in a September 7, 2010 posting,

I knew my desire to share con­tent was the prime dri­ver of the for­mat I was choos­ing, but I didn’t real­ize how quickly it was shift­ing in the oppo­site direc­tion. I now want to share one-to-many, not one-to-one, and I just don’t have the time or resources to tran­scribe every­thing I want to share. It makes me sad to look at that long list of print books I’ve read over the past year that I likely won’t share here because I can’t copy and paste.

Jenny (The Shifted Librarian) ends her essay with this,

Of course, your mileage may vary, but I think I’ve finally crossed over to the ebook side. I’ll have to go to book­stores and the library just to touch new books for old time’s sake. Only time will tell if there’s a “fea­ture” of print books that can draw me back. My rea­sons for con­vert­ing are def­i­nitely an edge case, and I haven’t been a heavy user of print resources in libraries in quite some time, but I can’t help but won­der how this type of shift will affect libraries. I see more and more eread­ers on my com­mute every day.

I was on the bus today and was struck by how many people were reading books and newspapers but I’m not drawing any serious conclusions from my informal survey. I think the lack of e-books, tablets and their ilk may be a consequence of the Canadian market where we tend to get digital devices after they’ve been on the US market for a while and when we get them, we pay more.

Despite all the discussion about e-books and tablets, I think what it comes down to is whether or not people are going to continue reading and, if we do , whether we”ll be reading the same way. Personally, I think there’ll be less reading. After all, literacy isn’t a given and with more and more icons (e.g., signage in airports, pedestrian walk signals, your software programmes, etc.) taking the place that once was occupied by written words then, why would we need to learn to read? In the last year, I’ve seen science journal abstracts (which used to be text only) that are graphical, i.e., text illustrated with images. Plus there’s been a resurgence of radio online and other audio products (rap, spoken word poets, podcasts, etc.) which hints at a greater investment in oral culture in the future.

These occurrences and others suggest to me that a massive change is underway. If you need any more proof, there’s Arthur Sulzburger Jr.’s admission at the recent International Newsroom Summit held in London England (from the Sept.8, 2010 article by Steve Huff in the New York Observer Daily Transom),

During a talk at the International Newsroom Summit held in London, Times publisher Arthur Sulzberger Jr. admitted that “we will stop printing the New York Times sometime in the future,” but, said Sulzberger, that date is “TBD.”

In the foreseeable future, we might need to read (although we may find ourselves moving to a more orally-based culture) but not as extensively as before. We won’t spend quite as much time learning to read and will better use the training time to learn about such topics as physics or coding computers or something. Knowledge, scientific and otherwise, is going to be transmitted and received via many channels and I don’t believe that the written word will be as privileged as it is today.

In the meantime, there are any number of avenues for writers and readers to pursue. One that I find personally fascinating is the subculture of literary tattoos (from The Word Made Flesh [Thanks to @ruthseeley for tweeting about the website.]),

It says “It rained for four years, eleven months and two days.” in portuguese. The illustration and phrase are from “100 years of solitude” by G.G. Márquez. That book means a lot to me. This picture was takes the same day i got the tattoo, so it’s a little bloody. It was very cold that day.

Given that I live in an area known for its rainy weather, this particular tattoo was a no-brainer choice.

I made mention of the Mongoliad writing project when it was first announced in late spring (my May 31, 2010 posting). The project features Neal Stepheonson and Greg Bear, both well known science fiction writers (in fact, both have written novels that incorporate nanotechnology), amongst a cast of other writers, artists, techno types, and others. They’re forging into 21st century publishing with a model that is lifted in part from the 19th century, stories produced serially and available by subscription, but made available with contemporary technology, the interrnet. I guess you could call it ‘steam punk publishing’.

Last week, a free preview was made available and registration was opened. Here’s the view from Andrew Leonard at Salon.com,

Behold the power of branding! Chapter I of “The Mongoliad” launched online this week, and I plunked down $9.99 for a year’s subscription, sight unseen, simply because Neal Stephenson’s name was attached. …

But after spending some time with the site and reading the first chapter, it is not exactly clear to me exactly how much Stephenson is baked into this project. He is the co-founder and chairman of Subutai, the start-up that is producing “The Mongoliad.” But the content-creation is a group effort. This serial digital novel is being produced online by a team of writers , artists, hackers and sword-fighting geeks — another big name involved is Greg Bear, also a veteran science fiction author. …

“The Mongoliad” is supposed to be more than “just” a book. Eventually the intention is to incorporate multimedia offerings, along with the hypertext-branching contributions of a user community extending far beyond the core team.

Ghengis Khan shook up the world in the 12th Century, and now in the 21st Century Neal Stephenson’s novel about him may shake up the publishing world: It’s partly interactive, partly social media, and wholly digital.

The Mongoliad promises to be unlike any other book ever written. For starters it’s written, in part, by Neal Stephenson, whose ideas in earlier novels like Snow Crash and The Diamond Age have contributed to many modern marvels like Google Earth and augmented reality. When you learn sci-fi writer Greg Bear is contributing to the team effort too, it makes the whole thing even more promising.

The innovation in The Mongoliad isn’t in its team writing effort, however: It’s in the entire concept of a serialized, dynamic, digital “book” that includes video, imagery, music, and background articles among the text of the storyline and comes with a social media companion, with which fans/readers can comment and interact.

In fact it looks as if they are incorporating fan fiction into their overall plan. If you go to the Mongoliad website, you are encouraged to add your stories and artwork to the site. This is from their ‘terms of service’,

Contributor Submissions

1. Policy. We welcome the submission of text, stories, vignettes, paragraphs, concepts, characters, ideas, poems, songs, images, animations, or interactive features submitted by registered contributors for potential publication on the Site (“Contributor Submissions”). Subutai grants you a limited, non-exclusive, non-transferable and revocable license to modify, broadcast, and transmit Content solely in order to create and submit Contributor Submissions to Subutai.

You understand that whether or not such Contributor Submissions are published, Subutai cannot guarantee proper attribution with respect to any submissions because of the interactive nature of the Site.

It’ll be interesting to see whether or not this works purely from the perspective of its business model. As for the story itself, I’m not loving it so far. First, a précis. It’s the thirteenth century in Europe and the Mongolians have a conquered a chunk of it. (Apparently, they did conquer a good chunk by 1241 and were about to conquer the rest when Ögedei Khan, then current Mongol ruler, died and their general, Subitai, according to custom had to return to Mongolis. See: Wikipedia essay)

In Mongoliad, there is no withdrawal of the Mongol forces and they are poised to sweep Europe meanwhile a small band of European knights gather to fight (from the Mongoliad Welcome page),

It’s spring of 1241, and the West is shitting its pants (that’s “bewraying its kecks” for you medieval time-travelers).

The Mongol takeover of Europe is almost complete. The hordes commanded by the sons of Genghis Khan have swept out of their immense grassy plains and ravaged Russia, Poland, and Hungary… and now seem poised to sweep west to Paris and south to Rome. King and pope and peasant alike face a bleak future—until a small band of warriors, inheritors of a millennium-old secret tradition, set out to probe the enemy.

Their leader, the greatest knight of their order, will set his small group of specially trained warriors on a perilous eastern journey. They will be guided by an agile, elusive, and sharp-witted adolescent girl, who believes the master’s plan is insane. But this small band is the West’s last, best hope to turn aside the floodtide of the violent genius of the Steppes kingdoms.

In the preview chapter (which is free), we meet Haakon who’s obviously one of the small band of warriors fighting for Europe. At this point, he’s engaging in some sort of sword fighting duel in a Mongol arena while the crowds roar for blood. We never learn much more about him or any of the other characters we’re introduced to as the preview is designed to draw us into buying a subscription so we can find out more. I’m not a big fan of the writing that I see in the preview,

Haakon wanted to roar with anger, but it came out as a strangled laugh. “I am about to do battle with a demon,” he complained, “and you want me to–”

“It’s no demon,” Brother Rutger said, and spat on the loose ocher ground that had been tracked down the tunnel on the boots of surviving combatants. “It’s a man dressed as one.” He rammed the helm down onto Haakon’s head and slapped him on the ass. Even through surcoat, chain mail, gambeson, and drawers, the impact came through solidly. “Oh yes,” he added, “and the Red Veil. We would also like to know what is on the other side.”

Haakon grunted as he adjusted the helmet to suit him. The mysterious Veil. He might have seen it several weeks ago when a group led by the physician Raphael had been sent to retrieve Illarion, the ailing Ruthenian.

Now, their party had divided again, and Feronantus and his team were off on their secret mission–while Haakon and the rest of the Shield-Brethren remained to compete against the champions of the Mongol Empire.

Rutger put his hand on Haakon’s shoulder. They regarded each other silently. Saying goodbye would be worse than useless, since Rutger and the others would see it as a premature admission of defeat, and it might demoralize them. Haakon knew he would be back among them in less time than it took to run out to the gutter and take a shit.

I also have some questions about the politics of it all. Here are a couple pictures from the site, Haakon first,

Art by Jamie Jones (from Mongoliad site)

And here’s one of the two Mongolian thug images currently available,

Concept art from Aleksi Briclot (from Mongoliad site)

This is just the beginning of the series and I’m hoping they head away from seems to be a pretty standard storyline where pretty, blond, white people struggle and eventually turn the tide against a demonic, dark-haired and darker-skinned people.